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6K Film Making Guide

Explore the components utilized for 6K native post-production
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6K FILM MAKING GUIDE

Pioneering Pipelines

Explore the components utilizes for the first ever 6K native post-production feature film workflow and discover the reasons we chose them.
Take a Peek
1

Dell Precision 7910 Tower Workstation (x2)

The Dell was the only workstation with the computing power to handle 6K R3D 4:1 native files (146MB/sec data rate or 530GB/hr), utilizing all 20 cores to maintain at least ½ resolution real-time playback inside Adobe Premiere Pro. These two powerhouses were the heart of post-production that carried us through nine months of technical and creative adventures. And they never let us down.

Dell Precision 7910 Tower Workstation (x2)

The Dell was the only workstation with the computing power to handle 6K R3D 4:1 native files (146MB/sec data rate or 530GB/hr), utilizing all 20 cores to maintain at least ½ resolution real-time playback inside Adobe Premiere Pro. These two powerhouses were the heart of post-production that carried us through nine months of technical and creative adventures. And they never let us down.
2

Adobe Premiere Pro

This software was the only Non Linear Editor (NLE) that could ingest, playback and maintain a stable working environment given the project’s previously unheard-of 6K native timeline requirements. No other platform could provide this when post-production began. I have edited eight other films with Adobe Premiere Pro and handled over 500 hours of footage for both “Deadpool” and “Gone Girl” so the 75 hours of footage in “6 Below” weren’t a concern. The 6K R3D playback was. However, those fears went away once I played back the entire 2 hours and 45 minutes first cut of the film—all on one 6K timeline. Simply amazing.
Adobe Premiere Pro
This software was the only Non Linear Editor (NLE) that could ingest, playback and maintain a stable working environment given the project’s previously unheard-of 6K native timeline requirements. No other platform could provide this when post-production began. I have edited eight other films with Adobe Premiere Pro and handled over 500 hours of footage for both “Deadpool” and “Gone Girl” so the 75 hours of footage in “6 Below” weren’t a concern. The 6K R3D playback was. However, those fears went away once I played back the entire 2 hours and 45 minutes first cut of the film—all on one 6K timeline. Simply amazing.
3

Adobe After Effects

With 205 VFX shots all in 6K, we needed an efficient way of previewing the effects. We used Dynamic Link from Premiere Pro to After Effects so we could see the results instantaneously and to enable our VFX editor to work at the same time, replacing his shots in my timeline while I was cutting. As a result, there was no waiting for exports of the source material and no rendering and importing new files back into the project. We edited the 6K camera files and updated in the active timeline.

Adobe After Effects

With 205 VFX shots all in 6K, we needed an efficient way of previewing the effects. We used Dynamic Link from Premiere Pro to After Effects so we could see the results instantaneously and to enable our VFX editor to work at the same time, replacing his shots in my timeline while I was cutting. As a result, there was no waiting for exports of the source material and no rendering and importing new files back into the project. We edited the 6K camera files and updated in the active timeline.

Tales From the Trenches

These were the core elements used, giving us the creative freedom to focus on the storytelling and technical demands of “6 Below.” 
Maintaining playback of a 2-hour edit at high resolution was critical. And by choosing such powerful Dell Precision workstations there were no bandwidth or throughput issues with the 6K files.
Systems will continue to improve performance just as camera formats will continue to grow more complex and processor intensive. 

Complete the form to gain access to the entire guide to learn more about Vashi Nedomansky’s 6K film making workflow.

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